Rating: 5/10 – a man (Lowery) drives across country after the death of his brother and gives a lift to a woman (Lane) who tricks him into being the getaway driver in a bank robbery, a situation that sees him on the run from the police but determined to prove his innocence; a gritty, hard-boiled film noir, They Made Me a Killer adds enough incident to its basic plot to keep viewers entertained from start to finish without really adding anything new or overly impressive to the mix, but it does have a brash performance from Lowery, and Thomas’s direction ensures it’s another solid effort from Paramount’s B-movie unit, Pine-Thomas.

Rating: 3/10 – a female assassin (Henson) finds herself protecting the teenage boy (Winston) whose father she killed years before, and at a time when her actions cause a murderous dispute between the gang she works for and their main rival; as the titular Proud Mary, Henson makes for a less than convincing assassin in this modern day blaxploitation thriller that lets itself down constantly thanks to a turgid script and lacklustre direction, and which has far too many moments where suspension of disbelief isn’t just required but an absolute necessity.

Rating: 3/10 – arriving in a small Oklahoman town with her teenage son, Ruth (Miller) attempts to put down roots after over ten years of running from the child cult that nearly cost her her life, but she soon finds that safety still isn’t something she can count on; number ten in the overall series, Children of the Corn: Runaway is yet another entry that keeps well away from any attempts at providing anything new, and succeeds only in being as dull to watch as you’d expect, leaving unlucky viewers to ponder on why these movies still keep getting made when it’s clear the basic premise has been done to death – again and again and again…

Rating: 7/10 – after running away from his foster home in Edinburgh, a young Polish boy, Janek (Chylek), unwittingly falls in with two burglars (Tafler, Balfour), and then finds himself in a Highland village where the possibility of a new and better life is within his grasp; an enjoyable mix of drama and comedy from the UK’s Children’s Film Foundation, Johnny on the Run benefits from sterling performances, Gilbert’s astute direction, excellent location work, and a good understanding of what will interest both children and adults alike, making this one of the Foundation’s better entries, and still as entertaining now as when it was first released.

Rating: 8/10 – a young bull called Ferdinand (Cena) whose disposition includes a fondness for flowers and protecting other animals, finds himself temporarily living with a supportive family, until events bring him back to the world of bullfighting that he thought he’d left behind; the classic children’s tale gets the Blue Sky treatment, and in the process, retains much of the story’s whimsical yet pertinent takes on pacifism, anti-bullying, and gender diversity, while providing audiences with a rollicking and very humorous adventure that makes Ferdinand a very enjoyable experience indeed.

Rating: 4/10 – thieves target a US Treasury facility during a Category 5 hurricane, but don’t reckon on their plans going awry thanks to a Treasury agent (Grace), a meteorologist (Kebbell), and his ex-Marine brother (Kwanten); as daft as you’d expect, The Hurricane Heist continues the downward career spiral of Cohen, and betrays its relatively small budget every time it sets up a major action sequence, leaving its talented cast to thrash against the wind machines in search of credibility and sincerity, a notion that the script abandons very early on as it maximises all its efforts to appear as ridiculous as possible (which is the only area in which it succeeds).

Rating: 6/10 – when his uncle (Howard) returns home from a trip to Malaya, David (Wade) gets to keep a large egg that’s been brought back, but little does he realise that a creature will hatch from the egg – a creature David, his sister Sophie (Clay), and their friend, Chris (Raven) need to protect from the authorities until his uncle returns home from his latest trip; though the special effects that bring the “monster” to life are less than impressive, there’s a pleasing low budget, wish fulfillment vibe to The Monster of Highgate Ponds that allows for the absurdity of it all to be taken in stride, and thanks to Cavalcanti’s relaxed direction, that absurdity makes the movie all the more enjoyable.

Rating: 5/10 – a gorilla, a wolf, and an alligator are all exposed to an illegal genetic engineering experiment and become massively bigger and more aggressive thanks to the corporation behind the experiment, leaving the gorilla’s handler (Johnson) to try and help put things right; based on a video game, and as brightly ridiculous as any movie version of a video game could be, Rampage uses its (very) simple plotting to bludgeon the audience into submission with a variety of exemplary digital effects, while also trying to dredge up a suitable amount of emotion along the way, but in the end – and surprisingly – it’s Johnson’s knowing performance and Morgan’s affected government spook that trade this up from simple disaster to almost disaster.

Rating: 4/10 – Rick (Paisley) and his girlfriend, Sadie (De Vallee), along with their friend Jonny (Keane), travel to the tidal island of Amen to reunite Sadie with her long lost sister, only to find that the islanders have a secret that threatens the lives of all three of them; a low budget British thriller with distinct echoes of The Wicker Man (1973) – though it’s not nearly as effective – Unhappy Birthday highlights the isolated nature of the island and the strangeness of its inhabitants, but reduces its characters to squabbling malcontents pretty much from the word go, which makes spending time with them far from appealing, and stops the viewer from having any sympathy for them once things start to go wrong.

Rating: 8/10 – Thanos (Brolin) finally gets around to collecting the Infinity stones and only the Avengers (and almost every other Marvel superhero) can stop him – or can they?; there’s much that could be said about Avengers: Infinity War, but suffice it to say, after eighteen previous movies, Marvel have finally made the MCU’s version of The Empire Strikes Back (1980).

Rating: 6/10 – when a middle-aged homosexual tractor salesman (Berthillot) falls in love with the daughter (Herzi) of a rival salesman, this unexpected turn of events has further unexpected repercussions, all of which lead the pair to go on the run from her father and the police; as much a comedy of manners as an unlikely romance, The King of Escape is humorous (though far from profound), and features too many scenes of its central couple running across fields and through woods, something that becomes as tiring for the viewer as it must have been for the actors, though the performances are finely judged, and Guiraudie’s direction displays the increasing confidence that would allow him to make a bigger step with Stranger by the Lake (2013).

What must it have been like back at the tail end of 2014 and the start of 2015 if you were “in the know” at Sony Pictures and Marvel Studios, and were aware of what was about to happen to everyone’s favourite neighbourhood web-slinger? How exciting must that have been? If you were a fan of Spider-Man, just the anticipation that he might be coming to the Marvel Cinematic Universe was enough to send you into a giddy spell of mega proportions. And then to find out that not only was there going to be a new Spider-Man movie designed to bring him into the MCU, but that he was also going to make his first appearance in another movie within that Universe – well, it was like having Xmas every day (if you were a fan). And then to have that early appearance, in Captain America: Civil War (2016) no less, and for him to steal the movie – well, that was like having the best ice cream in the whole wide world, and with sprinkles on (but again, if you were a fan).

But what if you’re not a fan? What if the very idea of another Spider-Man reboot (the third in fifteen years) has all the attraction of a Liam Hemsworth movie? What if the idea of all that ice cream, with sprinkles on, holds no attraction at all? Well, if that’s the case then be assured: this is a Spider-Man movie that even non-fans can enjoy. And why? That’s the clever part. This is the first Spider-Man movie where the whole notion of “with great power comes great responsibility” is sidelined in favour of seeing Peter Parker struggle with the basics, and not some overwhelming sense of guilt over the death of his uncle, or his parents, or Mary Jane Watson (or even Norman Osborn). This is the first Spider-Man movie where the makers have done away with the more traditional origin story, and instead have got things started by accepting that we all know the story by now; so why bother? Why not just get on with it?

Which is exactly what happens, but cannily, not before a trip back to 2012 and the aftermath of the Battle of New York. There’s Chitauri technology all over the place, and salvage contractor Adrian Toombes (Keaton) has spotted a way of exploiting it in order to make a lot of money. But no sooner has he thought of it than he’s shut down by the US Department of Damage Control and forced to continue his plan to make weapons in secret. And before long, that plan is coming to fruition. Fast forward five years and high school student Peter Parker (Holland) still can’t believe he was involved in the airport scrap that took place in Berlin between Team Captain America and Team Iron Man. Still buzzing, Peter believes his involvement in that fight means he’s a member of the Avengers team, but Tony Stark (Downey Jr) has other ideas, and does his best to mentor Peter from a distance. But Peter is irrepressible (and naïve), and his determination to show Stark what he’s capable of inevitably backfires. When he inadvertently takes on some of the men that work for Toombes, it brings him to the attention of Toombes’ alter ego, The Vulture.

Peter decides it’s his mission to stop The Vulture from building and selling any more Chitauri-based weaponry, and one (future) classic scene where Peter and Toombes realise each other’s secret identities aside, the movie follows a predictable pattern before the inevitable superhero v supervillain showdown. But what makes the movie so charming and so enjoyable is both its backdrop and its setting: Peter’s first year in high school and all the trials and tribulations that follow in the wake of that teenage milestone. Already described as a superhero movie by way of John Hughes, Spider-Man’s first solo outing in the MCU paints a much more believable portrait of Peter Parker than we’ve seen in the previous five movies. By keeping Peter at the age he was when he developed his powers in the comics, Marvel have actually managed to breathe new life into the character and make him seem fresh and relevant, rather than an angst-ridden science nerd with literally no friends. Here, Tom Holland’s incarnation is bright, overly enthusiastic, and immensely likeable (just like the movie). Holland perfectly captures the giddy sense of euphoria that comes from doing something so cool you want to shout from the rooftops about it – but know that you can’t. This is a Spider-Man who knows how to have fun (at last).

By focusing more on Peter’s attempts at fitting in, both in high school and in the wider world of superheroes, the script allows the audience to have a lot of fun at Peter’s expense. But then he is only fifteen, and he’s bound to make mistakes, whether from plain old exuberance or because he hasn’t built up his street smarts yet. Seeing him fail is more refreshing than expected, and a pivotal scene involving Stark and the loss of his Stark-created outfit highlights the true dilemma of being able to shoot webs and swing between tall buildings but not be able to talk to a girl. But again, it’s a happy dilemma because this is what the movie is all about: providing audiences with a surfeit of fun. Marvel know how to incorporate humour into their movies, but this may well be the first MCU movie that knows how to sustain that humour throughout, and round things off with the best end credits sting since Nick Fury first tried to recruit Tony Stark to some team he was trying to put together. This is a movie that is enjoyable and joyous at the same time, and proof that Marvel really do understand their characters better than anyone else (sorry Sony).

And for the first time since Loki we have a villain who has a credible motive for being the bad guy, and thanks to Keaton’s performance, he’s one we can have a degree of sympathy for. Toombes is about providing for and protecting his family, but though that’s an honourable sentiment, Keaton shows how that has become inexorably warped over the years, until his motives aren’t quite as clear-cut as when he began putting on the flying suit. Together, Holland and Keaton are terrific adversaries, and easily outshine the rest of the cast, who, to be fair, don’t stand out quite as well (though Batalon as Peter’s best friend, Ned, comes close). There’s the possibility of a romance for Peter with debate team captain, Liz (Harrier), that takes an unexpected turn, a series of action scenes that vary between broadly exciting and acceptable, competent direction from Watts that fares better away from said action scenes, a little too much moralising from Tony Stark, and a “get-to-know-your-suit” sequence which is possibly the movie’s true highlight. Smartly written – and by a team of six writers at that – this is the Spider-Man movie fans have been waiting for. Now, how about all you non-fans?

Rating: 8/10 – a giddy fun ride of a movie that can’t contain its own excitement about existing, Spider-Man: Homecoming adds another superhero to the MCU roster and does so with exuberance and no small amount of wit; you know Marvel have got a firm grip on things when the opening music cues reference the original Sixties animated series theme tune, and web-swinging in the suburbs brings its own measures of difficulty and danger.

And so begins Phase 3 of the Marvel Cinematic Universe. Though the Marvel formula is pretty well established now, and is beginning to show through a little too often for comfort – Avengers: Age of Ultron (2015) disappoints more and more with repeated viewings, Ant-Man (2015) was fun but too married to the formula for its own good – the company that should finally give us the Spider-Man movie a lot of people have been waiting for, has cannily begun the process of dismantling and rebuilding the work it carried out in Phases 1 and 2. Having introduced us to the more well-known Marvel superheroes – Iron Man, Thor, the Hulk, Captain America etc. – over the next few years we’re going to meet several newer additions to the roster, so that by the time we get to Avengers: Infinity War Part II (2019), the Avengers will hopefully be comprised of a different set of superheroes.

With that in mind, there’s a lot that needs to happen before then, and while Captain America: Civil War looks as if it’s the first step in getting there, and while it’s still the best Marvel movie this side of Guardians of the Galaxy (2014), Marvel are still playing it safe in terms of the characters – contrary to what you may have heard, all the main players survive in this movie – but they are trying to make things grittier and more true to life in relation to the characters’ relationships and feelings. Hence we have a falling out between Tony Stark (Downey Jr) and Steve Rogers (Evans) over whether or not the Avengers should be “policed” following the destructive events in Sokovia. Tony believes that their actions in the past have caused too much death and suffering (even though they’ve saved the world twice), while Steve feels that it shouldn’t be left up to anyone else but the Avengers as to where they go and who they stand up to; what if they’re not asked to go somewhere they should be?

It all leads to the various core Avengers – except for an absent Thor and Bruce Banner – taking sides over the issue, and for each side to bring in back up when it’s clear that a showdown is inevitable. Meanwhile, as if things aren’t bad enough, Steve’s old friend and Winter Soldier, Bucky Barnes (Stan) is still on the run and apparently responsible for the bombing of a United Nations building that has taken the life of T’Chaka (Kani), the king of African nation Wakanda. His son, T’Challa (Boseman), swears to have his revenge on Barnes, and with Steve unwilling to give up on his friend, the battle lines are even more fiercely drawn. (T’Challa is one of the new characters, aka Black Panther, and will have his own movie in 2018.)

What it all boils down to is whether or not the Avengers should be autonomous or inducted into the world’s police force and used accordingly. There are good reasons on both sides for inclusion or exclusion but the interesting thing about the arguments put forward is that Tony’s are emotionally driven by his feelings of guilt over the numerous deaths that occurred in Sokovia, while Steve’s are still rooted in his past. Having fought against Hitler and Hydra both in World War II, Steve knows one thing for sure: if there’s evil to be faced and defeated, then you just do it. It’s a simple idea, but for Steve a very powerful one. And though the movie does its best to keep the narrative focused on this divisive idea, there’s a spanner in the works.

The “spanner” is this movie’s principal villain, Colonel Helmut Zemo (Brühl), who is operating in the background and using Barnes’ past to cause maximum distrust between Tony and Steve. He’s doing so for personal reasons, and credible ones at that, and they have a bearing on the division that threatens the future of the Avengers. Zemo may not be trying to destroy the world like Loki or Ultron, but it’s good to see a villain causing so much harm all by himself and without an army of aliens or robots to help him. Brühl puts in a good performance, and its one whose quiet determination isn’t overwhelmed by all the sturm und drang going on around him. But Zemo is also the device by which the Avengers reach their own accord, an uneasy truce if you like, but one that introduces a further interesting dynamic for future movies.

As for the other characters, and with so many to include, the script by Christopher Markus and Stephen McFeely rightly concentrates on the falling out between Tony and Steve, while doing its best to address and develop issues surrounding everyone else. There’s the tentative romance brewing between Vision (Bettany) and Scarlet Witch (Olsen) that has them on opposite sides (as well as Vision’s understanding of the Infinity Stone in his forehead), the return of General Thaddeus Ross (Hurt) as the man charged with bringing the Avengers into line, the various drawbacks encountered by Falcon (Mackie) and War Machine (Cheadle) as the sidekicks of Captain America and Iron Man respectively, Black Widow’s (Johansson) kick-ass yet conciliatory occupation of the middle ground when necessary, the return of Hawkeye (Renner) to make up the numbers on Cap’s side, and the return also of Scott Lang aka Ant-Man (Rudd) who provides much of the comedy that makes the airport confrontation so much fun.

As mentioned before, we’re introduced to one of Phase 3’s newer characters, Black Panther. Originally meant to have a much smaller role in Captain America: Civil War, Boseman’s portrayal is extremely good, and bodes well for his solo outing. The character’s place in the MCU is assured thanks to the way in which the script integrates his own personal mission of revenge into Tony’s attempts to achieve regulation of the Avengers. Neither a part of the Avengers or against them, Black Panther is a neutral figure in terms of the differences affecting them, and acts as a buffer for the audience by following his own path.

And then there’s the little matter of finally seeing Peter Parker aka Spider-Man in a Marvel movie – at last. With all due respect to Sam Raimi and Tobey Maguire, and Marc Webb and Andrew Garfield, in the space of roughly half an hour, the Russo brothers and the writers have given us the best Spidey yet seen on the big screen. Holland is terrific as the garrulous super-teen, nervous and perplexed in his meeting with Tony Stark, unabashedly starstruck in his set-to with Captain America et al. It’s an absolute joy to see him portrayed in this fashion, and for fans who stay to (almost) the very end, the caveat “Soider-Man will return” (a la James Bond) will be a welcome sight.

With this movie, Marvel has begun the next Phase of its assault on our hearts and minds and disposable incomes in such an enjoyable way that even though it’s not a movie that takes any real risks with either its characters or the storyline, it’s still a marked improvement on recent outings. The humour is there, the action/fight scenes are as inventive and thrilling as ever, and (some of) the characters are allowed to develop further, thereby consolidating our affection for them. It’s a huge juggling act, but here the writers and the Russo brothers have made such a good job of things that there are only minor gripes to be had, and those aren’t really worth mentioning. Where Guardians of the Galaxy raised the bar considerably for the MCU, Captain America: Civil War has just vaulted over it with accomplished ease.

Rating: 9/10 – while many may regard this as just Avengers 2.5, there’s more to Captain America: Civil War than meets the eye, and Marvel can be rightly proud of what they’ve achieved; as a stand-alone movie it works incredibly well, and as a part of the wider MCU it’s even more effective, being more tightly scripted and more efficiently directed than any other superhero movies out there at the moment – and yes, that does mean Batman v Superman: Dawn of Justice (2016).

Sometimes, watching old movies can provide the occasional surprise, like seeing an actor or actress in an early role – or movie – when you least expect it. This happened to me recently when I saw National Lampoon’s Senior Trip (1995) (I’m a National Lampoon movie completist – what can I say?). Imagine my surprise when I saw Jeremy Renner’s name come up in the title credits. Imagine my further surprise when it turned out he gave one of the best performances in the movie (though not that much of a surprise if you’ve seen it).

It got me thinking about other stars and their early appearances, and what other movies are out there with fledgling – or fleeting – performances from today’s big name actors and actresses. So, a few quick searches on imdb.com later, and voilà!, this post was born. I hope you have some fun with it, and if there are any other examples that you think should have been included, or are worth mentioning, feel free to let me know.

Leonardo DiCaprio – Poison Ivy (1992)

While it’s well-known that DiCaprio’s first movie role was in Critters 3 (1991), what’s perhaps less well-known is his participation in Katt Shea Ruben’s perverse shadow play of teenage sexuality run amok. But before anyone gets too excited, his role in the movie (as ‘Guy”) amounts to a walk-on part where he comes out of a school building and crosses in front of the camera. It’s a blink-and-you’ll-miss-it part, and perhaps best regarded as an example of how good DiCaprio’s agent was back then: out of nothing he got ninth billing.

Robert Downey Jr – Weird Science (1985)

Way back before he became Marvel’s go-to guy for the grounding of their Cinematic Universe, Downey Jr made an appearance in this fondly remembered ode to teenage hormones and the fetishisation of Kelly LeBrock. Cast as “Ian”, Downey Jr plays a bit of a douchebag who acts as a bully to the two main characters. It’s not a particularly memorable role, and there’s nothing to suppose that his career would take off in the way it has – twice – but it’s in keeping with John Hughes’ studied look at teenagers and their idiosyncrasies, and isn’t too embarrassing when looked back on from thirty years later.

Julianne Moore – The Hand That Rocks the Cradle (1992)

As the realtor who holds the key to the reason for Rebecca De Mornay’s psychotic dismantling of Annabella Sciorra’s life, Moore made only her second movie, and met a memorable end in a booby-trapped greenhouse. Feisty and forthright – almost a template for some of her future roles – the Oscar-winning actress catches the eye but still doesn’t quite give notice of how good an actress she really is. That would be left to Short Cuts (1993), one of her most memorable performances.

Colin Firth – The English Patient (1996)

As the movie’s star-crossed lovers, everyone remembers Ralph Fiennes and Kristin Scott Thomas, but when it comes to the actor playing Thomas’s jilted husband, that’s when the mind may well go completely blank. But Firth matches his (then) more illustrious co-stars, and shows that, only a year after playing Mr Darcy in the BBC’s Pride and Prejudice, that he can play a cuckold just as well as a romantic heart-throb.

Ian McKellen – Last Action Hero (1993)

In amongst Last Action Hero‘s gunfire and car chases and explosions, you may remember towards the end of the movie, the character of Death from Ingmar Bergman’s The Seventh Seal (1957) stepping out of the big screen and into the real world. As audacious homages go it’s a great example of what made the movie so uneven, but McKellen brings the necessary gravitas to the role, and even adds a degree of nonchalant amusement.

Amy Adams – Talladega Nights: The Ballad of Ricky Bobby (2006)

Though Adams has a track record in comedies before and since Talladega Nights, it’s unlikely that most people would place her as Will Ferrell’s love interest, whatever the circumstances (though the glasses may have helped). But as Susan, Ricky Bobby’s assistant-cum-paramour, Adams more than holds her own amidst all the manic goings-on and provides a welcome distraction from the otherwise testosterone-laden script.

Cameron Diaz – Fear and Loathing in Las Vegas (1998)

One of a number of cameos in Terry Gilliam’s spirited psychedelic imagining of Hunter S. Thompson’s book, Diaz’s appearance as “Blonde TV Reporter” is brief, but a great example of the kind of “roles” that some stars will take either as a favour to the director, or just to be involved in a particular movie project. Plus it’s always fun to see someone pop up unexpectedly in a movie, even if it’s only for a moment.

Nicolas Cage – The Cotton Club (1984)

Working with his uncle, Francis Ford Coppola, Cage’s turn as Richard Gere’s unpredictable, violent brother is another of the actor’s mercurial early roles, and a reminder of the raw, vital talent that has been lost in the welter of tired, mortgage-paying performances Cage has given us in recent years. Taking what could have been a stereotypical role and giving it the kind of spin only he could, it shows Cage acting up a storm and commanding the viewer’s attention.

Jason Statham – Collateral (2004)

Billed as “Airport Man”, Statham has a small but pivotal role in Michael Mann’s L.A.-set thriller, and he more than holds his own in his scene with Tom Cruise. It’s the kind of unexpected appearance that enriches a movie, and lets the audience know that Statham – already an established star in his own right – can still do character work when required… and very effectively.

Natalie Portman – Mars Attacks! (1996)

Three years before she became Queen Amidala in Star Wars Episode I: The Phantom Menace (1999), Portman took a supporting role as the President’s daughter, Taffy, in Tim Burton’s anarchic alien invasion romp. Sharing scenes with Jack Nicholson and Glenn Close, Portman enters into the spirit of things with gusto, and has one of the best lines in the movie: “Guess it wasn’t the dove.”

Having bested Owen Shaw and his gang in the previous instalment, now Dominic (Diesel), Brian (Walker), Letty (Rodriguez), and what seems like every main character from the series, have to pull together – with the aid of the mysterious Mr. Nobody (Russell) to take down his vengeful brother, Deckard Shaw (Statham). Throw in the hunt for a software programme, and its creator (Emmanuel), that can track anyone anywhere in the world, a trip to Abu Dhabi, and the usual amount of hyper-realistic cartoon violence, and you have the most successful entry in the franchise to date with, at time of writing, a worldwide gross of $1,352,724,000 (making it the fourth highest grossing movie ever).

In an attempt to retire the Avengers from group duty, Tony Stark (Downey Jr) creates a robot that comes equipped with artificial intelligence. Only there’s a flaw: the robot, named Ultron (Spader), sees the best way of carrying out his peacekeeping mission is to wipe out the human race (and thereby ensure a peaceful world). With internal conflicts hampering their efforts to combat Stark’s creation, the introduction of Quicksilver (Taylor-Johnson) and Scarlet Witch (Olsen) to the mix, a showdown between the Hulk (Ruffalo) and Iron Man in his Hulkbuster suit, and Ultron planning an extinction level event, you have a sequel that has made $424,460,000 at the box office in just over a week.

And so we have the first two candidates for 2015’s Mega-Blockbuster of the Year Award. In the red corner we have the testosterone-fuelled, carmageddon-inspired Furious 7, and in the blue corner we have Avengers: Age of Ultron, the latest juggernaut designed to increase Marvel’s grip on the world and its wallet. The inclusion of their box office takes is deliberate, as this is really what both these movies are about: making as much money as possible off the back of a heavily marketable idea. That the idea is becoming stale (Furious 7) or showing signs of running out of steam already (Avengers: Age of Ultron) is neither here nor there. These movies are guaranteed crowd pleasers, and all the studios that make them have to do is give the fans enough of what they like most to ensure those big box office grosses.

It’s a well-known fact that recent entries in the Fast and Furious franchise have been built around the action sequences: the stunts come first and then a story is created around them. Such an approach isn’t exactly new, but as the series continues, it appears that the writer, Chris Morgan, is fast running out of ways to keep it as real as possible given the absurd, physics-defying world Dominic and his family live in. Morgan has scripted every movie since The Fast and the Furious: Tokyo Drift (2006), and this time round the law of diminishing returns has clearly set in with a vengeance. With its dodgy timescales, crude attempts at characterisation, and action sequences that go on and on and on without ever changing pace (or should that be, gear?), Furious 7 is a movie that believes in its hype so much that it’s forgotten it still needs to make an effort beyond what’s expected of it.

Of course, script revisions had to be made due to the untimely death of Paul Walker, but like so many of the cast, he’s marginalised in a movie that has too many characters and too little time to do much with them apart from put them in continual jeopardy. Brewster is sidelined in the Dominican Republic (admittedly, not so bad), Johnson winds up in hospital until needed at the end, and Walker’s contribution seems reduced to fighting Tony Jaa. But with the script showing more interest in the villains (Statham, Hounsou, Russell maybe) than its heroes, it comes as a bit of a shock to realise that the main characters have nowhere to go – everyone, even Letty with her amnesia, is still the same as they were when they first appeared. Maybe this kind of familiarity is what the fans want but ultimately it just means that future entries – and there are three more planned for release – will continue to mine the same formula and with less satisfying results.

The same problem that occurs in Furious 7 occurs in Avengers: Age of Ultron, namely what to do with so many different characters, especially the new ones. Writer/director Whedon doesn’t appear to be as sure this time round as he was on the first Avengers movie (and it may be why he won’t be helming the two Avengers: Infinity War movies). While he does effective work exploring the personalities and idiosyncrasies of the Avengers themselves – Stark’s continuing egotism, a burgeoning relationship between Bruce Banner and Black Widow (Johansson), where Hawkeye (Renner) spends his downtime – he’s less successful when it comes to the villain, the villain’s sidekicks, and the whole let’s-level-a-city-and-cause-as-much-destruction-as-possible angle.

With so many characters to deal with, it’s inevitable that some of them don’t receive as much attention as others. The introduction of Quicksilver and Scarlet Witch is a case in point, with Taylor-Johnson reduced to asking people he’s knocked over if they saw that coming (and not just once), and Olsen saddled with a perma-frown as she casts spells on people. They have a back story but it doesn’t impact on how they behave in the movie, and their teaming up with Ultron seems convenient rather than a well thought out plot development. Likewise, we have appearances by Kretschmann (dispensed with too quickly), Serkis (as an intro to his character’s appearance in Black Panther), and Delpy (as Natasha Romanoff’s childhood instructor). All great actors, and all reduced to walk-ons in the service of the ever-expanding Marvel Cinematic Universe.

But all great superhero teams need a great villain, and while Ultron seems to pass muster, the main problem with him is the actor cast to play him. Now it’s not that James Spader is a terrible actor – far from it – but what’s clear from his performance is that, rather than come up with an entirely new characterisation, he’s gone for a slight deviation on Raymond Reddington from The Blacklist… and it’s been encouraged. As a result we have a robot that often sounds whimsical rather than destructive, and petulant when he should be megalomaniacal. Whedon is good at injecting comedy into his movies – here, the throwaway line “No it wasn’t” is used perfectly – but when he tries too hard, as he does with Ultron, the effect is lost, and the viewer could be forgiven for wondering if Ultron is meant to be so eccentric.

On the action front, once again we’re treated (if that’s the right word) to another massive showdown where buildings are levelled, the Avengers fight off an army of attackers (last time the Chi’tauri, this time Ultron’s robots), and the special effects budget goes through the (recently blasted) roof. The whole massive destruction approach is a huge disappointment, having been done to death already in movies such as Man of Steel (2013) and the previous Avengers outing (and even Furious 7 with its car park demolition). (If anyone is listening, please let Thanos take on the Avengers on his own when he finally “does it himself”.)

Ratings:

Furious 7: 6/10 – overblown (though no surprises there) and lacking a coherent story, Furious 7 has all the ingredients the fans love, but as a tribute to the late Paul Walker it falls short; a triumph of hype over content, someone seriously needs to look under the hood before taking this particular baby out for another drive.

Avengers: Age of Ultron: 7/10 – overblown and lacking in any real drama, Avengers: Age of Ultron skates perilously close to being Marvel’s first dud since Iron Man 2 (2010); saved by Whedon’s attention to (most of) the characters, it lumbers through its action set-pieces with all the joy of a contractual obligation.

Defence attorney Hank Palmer (Downey Jr) has made a name for himself by getting acquittals for some of the guiltiest defendants ever brought before the bench. When his mother dies unexpectedly it means his returning home after twenty years and dealing with his estranged father, Joseph (Duvall), who’s the local judge. On the day of the funeral, Hank is reunited with his high school sweetheart, Samantha (Farmiga) but he remains unable to bridge the gap that keeps himself and his father at a distance from each other. Later that night, Joseph takes a drive to a nearby gas station to get some groceries. When Hank gets ready to leave the next morning, he notices that Joseph’s car is damaged, as if it’s hit something.

Before his flight can take off, Hank hears from his older brother Glen (D’Onofrio) that the police are investigating a fatal hit and run from the night before and are talking to Joseph at the station. Against his better judgment, Hank gets off his flight and heads to the station where he learns that the man who died was someone the judge had let off years ago only for the man to kill the girl he’d been stalking. When blood is found on Joseph’s car that matches the dead man’s, the police arrest him. Family tensions increase when Joseph decides to appoint local lawyer, inexperienced C.P. Kennedy (Shepard) to represent him instead of Hank. But at his arraignment, where he’s committed for trial, the judge realises his mistake and asks Hank to take over his defence.

It emerges that Joseph has increasing memory problems and he can’t remember anything after he left the gas station and had to make a detour due to a flooded road. As Hank begins to build his case, Joseph proves unhelpful and the two clash repeatedly. At the same time, Hank learns that Samantha has a daughter, Carla (Meester), and that he might be the father. With family issues coming to the boil over events that happened twenty years ago, along with a special prosecutor (Thornton) being appointed to try the case, Hank finds himself under growing pressure to find a way to meet all the demands being made of him, and solve the puzzle of what happened the night his father went for groceries.

A family drama wrapped up in a courtroom drama, The Judge is the kind of movie that looks glossy, feels important (on its own level), and sounds impressive but is actually none of those things, being instead a kind of kitchen sink drama where so much is thrown in and very little is as compelling as it first appears. Take, for example, the case of Hank’s brother Glen, who was a promising baseball player until an accident caused by Hank ended his career before it began. It’s an issue that Joseph brings up a few times and is one of the sources of their estrangement, but neither of them have ever thought to ask Glen how he feels about it all (he’s actually made his peace with it but we don’t find this out until the end).

Likewise, the issue of whether or not Joseph deliberately killed the ex-offender is of secondary importance in comparison to the movie’s need to have him and Hank reconcile – and which takes place in the courtroom, and with everyone sitting back and letting them show that they really do care about each other etc. etc. But will the audience care by this point, having already sat through over two hours of undercooked “woe is me” dramatics? Because therein lies the movie’s biggest problem: Hank is too much the aggrieved party. His marriage is heading for divorce, his colleagues across the courtroom floor have no time for him, he can’t make his relationship with Samantha work, he doesn’t understand his father at all, and he believes too much in his own talent to have an inkling of what humility is all about. In short, he’s an arrogant prick, and even though he’s presented as charming and a bit of a “good” bad boy, and all this is meant to be attractive, especially with Downey Jr in the role, it’s a character we’ve seen too many times before to end up rooting for.

The judge’s motives remain muddled throughout, as he wavers between wanting to be honest and upstanding, and maintaining his legacy after forty-two years on the bench. Hank is a chip off the old block and all the arrogance can be seen in the way in which Joseph conducts himself, cleaving to his own idea of what’s right and wrong, and to hell with anyone else’s opinion. The phrase, “two peas in a pod”, is perfect for them, but it doesn’t make for affecting drama, and there’s no tension at all. We know what’s going to happen from the outset with these two and it involves re-found mutual respect and admiration, and a shared understanding of past events. The movie is one big therapy session and it struggles to rise above the level of a predictable TV Movie of the Week.

Against this, Downey Jr and Duvall put in credible enough performances but fail to energise the material, and spar off each other so predictably it’s like filming by numbers. Farmiga and D’Onofrio fare better but then their roles are smaller and they have less focus on them. Thornton’s role is a step above a cameo but he makes the most of it even if it is a reprise of so many other roles where he’s had to be both smug and menacing.

Dobkin assembles things with a nod to almost every other small-town, local-boy-makes-good-then-comes-back-to-confront-the-issues-that-drove-him-away drama we’ve ever seen, and signposts pretty much every plot development with the excitement of someone who can’t wait to show off his next scene. Carlinville is a pretty town, shot beautifully by Janusz Kaminski, but what we see of it is mostly restricted to the judge’s house, the courtroom and Samantha’s diner. It’s a slightly claustrophobic effect and is rarely betrayed by a long shot. Thomas Newman’s score provides standard support for the proceedings, but like so many other aspects of the movie, is never compelling enough to elevate matters.

Rating: 5/10 – competently made but lacking on so many levels – emotionally, dramatically, as a thriller – The Judge is one of those ideas that sounds great on paper but proves largely underwhelming once it’s transferred to the screen; if you’ve got actors of this calibre in front of the lens and they can’t make it work, then maybe it’s a movie that should’ve remained as just a great idea.

Chef Carl Casper (Favreau) has been working at the same restaurant for ten years. The food he cooks is well liked but when the movie opens he’s been cooking the same menu for the last five years, so when word gets out that influential food blogger Ramsey Michel (Platt) has booked a table, Carl wants to do something different to impress him. However, Carl’s boss, Riva (Hoffman) wants him to stick to the existing menu and give Michel what Carl is famous for. Carl reluctantly agrees. In his review, Michel slams Carl’s efforts and wonders what happened to the culinary genius he first encountered ten years before. The next day, with Michel’s review trending on Twitter, Carl – with the help of his son, Percy (Anthony) – sends Michel an angry tweet that he doesn’t realise will be seen by everyone. A brief war of words leads to a challenge: if Michel comes back to the restaurant, he’ll cook food that will make Michel eat his words (excuse the pun).

This time, with the restaurant fully booked (thanks to Twitter), and with Riva even more concerned that Carl’s attempts to do something different will backfire on the restaurant’s reputation, he forces Carl to make a choice: either cook the established menu or leave. Carl leaves. Michel is bemused by receiving the same food again and assumes Carl has backed down on the challenge. Carl reads Michel’s tweet and heads back to the restaurant where he lambasts the critic in front of everyone; unfortunately a customer films Carl’s rant and the video goes viral. While all this has been going on, Carl has been trying to maintain an amicable relationship with his ex-wife, Inez (Vergara), and spend time with Percy, but his work has always gotten in the way. Now out of a job, Inez suggests he start afresh with a food truck, making the food he wants to make, and being his own boss. Carl isn’t keen on the idea, but with getting another job at a restaurant proving more and more unlikely, and while on a trip to Miami with Inez and Percy, he eventually agrees. Given the truck by Inez’ other ex-husband, Marvin (Downey Jr), and helped by Percy and his friend and colleague from the restaurant, Martin (Leguizamo), Carl gets it up and running and the three of them embark on a cross country journey selling food that reinspires Carl’s love for his work, and goes a long way to improving his relationship with Percy.

Each year, there’s always one movie that serves as an antidote or an alternative to the usual fare of summer blockbusters, a modestly budgeted, small-scale movie that entertains, moves, and delights audiences, and leaves them feeling that they’ve actually experienced something. Last year that movie was Before Midnight, this year it’s Chef. It’s one of those movies that inspires audiences to go home and take up whatever it is the central character does, and here it’s to make food that looks so mouth-wateringly delicious you want to jump into the screen and devour it (even the fried breakfast Carl makes Percy at one point looks heavenly). Carl’s passion for food is his life, and while other parts of his life don’t fare so well, it’s his faith in food that keeps him going, even when his professional life goes into meltdown. As played by Favreau, Carl is an outwardly positive man apparently in a good place in his life, but inwardly he’s stifled and lacking the drive to take his career to a new level. Losing his job turns out to be the best thing that could have happened to him, and it sees him reconnect with the other important parts of his life.

In particular, this means his son Percy. Carl is oblivious to Percy’s need for a proper relationship with him, and he doesn’t see his son’s unhappiness each time he lets him down. Even when they do spend time together, such as when Percy shows Carl how to use Twitter, Carl can’t wait to get back to cooking. The road trip from Miami back to California, where Carl teaches Percy how to cook, and father and son bond more effectively, helps Carl focus outside of being a chef, and brings him back to being the young(ish) tyro he was ten years before. It’s these scenes that give the movie it’s heart, and a couple of minor lapses aside, make for often touching viewing. There’s plenty of humour here too, with Favreau’s script hitting the funny bone with impressive ease. There’s a pleasing mix of situational comedy, quirky one-liners (“Come here, amuse-douche”), and visual gags, all seamlessly integrated into the whole, and the cast judge their performances accordingly, the obvious fun they’re having with the material easily transferring itself to the audience; it’s just infectious.

There are some minor quibbles – Johansson’s character is jettisoned halfway through without a backward glance, Carl behaves stupidly towards his son until his behaviour appears stupid for the sake of it, Riva is unnecessarily antagonistic towards Carl (especially the second time) – but for the most part Favreau gets it just right, balancing the comedy and the light drama with aplomb, engaging the audience from the outset with likeable characters and familiar situations that leave the viewer smiling in affectionate recognition. He’s also an unselfish director, knowing when to let his cast take the lead in a scene, and giving a largely unshowy performance himself. Leguizamo and Cannavale make a great double act in the restaurant kitchen, Vergara adds just the right amount of sophisticated glamour, and Downey Jr almost steals the movie with his portrayal of an entrepreneur with cleanliness issues.

It would be easy to dismiss Chef as a feel good movie that never really makes Carl’s situation too dramatic, and there’s certainly large swathes of the movie that are both predictable and overly familiar, but again, it’s Favreau’s adept handling of the material that makes Chef so enjoyable, so much so that any reservations are swiftly cancelled (excuse the pun).

Rating: 8/10 – to borrow a title from Queens of the Stone Age, Chef is “the feel good hit of the summer”, a warmly funny celebration of food and its overriding importance in one man’s life; a treat indeed and one that should be returned to as often as possible.